The Balaton Sound ended but left a desire for more. Ready to go into the dark side of the musical universe with a light electronic input? Well, if you like a touch of melancholy in the songs you hear, you came into the right review but of course, without leaving a bit of techno aside: Samaris is a band that consists of a clarinet player Áslaug Rún Magnúsdóttir, a singer Jófríður Ákadóttir known as JFDR and an electronic musician Þórður Kári Steinþórsson. They play mostly electro-indie.
This unlikely trio from Iceland first came together in the beginning of 2011, the same year they won the Músíktilraunir competition and right after released their first EP called Hljóma Þú. But only in 2013 releasing their first album by One Little Indian Records, curiously the same label that signed with internationally recognised band The Surgarcubes, that had Björk as a singer.
Latter, in 2014 the trio released the album called Silkidrangar with 10 tracks that adds up to a hypnotic and susceptible mush! Especially when talking about the music Ég Vildi Fegin Verd that seems as cold as the land they came from, the melancholy portrayed enters your skin like on the worst winter days leaving you sluggish, yet the subtle beats do not let your heart stop.
Turning this page, we can also find tracks like Lífsins Ólgusjór, which has a more dancing vibe, and Tíbrá equalizes you with a unique emotional stability in this album, it seems like walking in the middle of a forest. Finishing with Hrafnar that somehow makes you feel like you’re in a race, looking for something that you don’t quite know what it is.
Before we finish it
The songs from Silkidrangar are filled with space, atmosphere and some health sadness. If you’re into that, you can check this album out in Spotify.
By collaborators Igor & Wallace
The opening track of Silkidrangar, Nótt, has been featured in our Spotify playlist Synths of Eden
And who cares in a hundred years from now? All your small steps, all your shitty clouds.
Another track that follows the ‘resting’ vibe after a long and tiring day of work. Nothing more appropriate for a first of May, international workers day.
The trio DYAN recently released the track Cycling Trivialities, a track that makes me think about getting the bicycle back home, after work, watching the busy life goes buy, but you don’t care anymore, as the working day is over, and the whole evening will be just for yourself. This is a song for everybody, anonymous people all there, full of their trivialities.
DYAN is: Alexis Marsh (singer/guitarist/bassist), Sam Jones (guitarist/synths) and Dan Dorff Jr. (drums/synths).
Another awesome thing about DYAN is that their album Looking for Knives is available in vinyl!
Where do the shadows take you
And when do they plan to set you free
There’s so much to see
Do you feel the laughter pausing
When you thought bright would always be
And living in me
Another one for the series of follow-up posts I made about artists that have been featured here before and come back with other tracks. This is the case for Panama Papers, that has been here before with Brite Nights and now are back with Under the Sun. This is another one of their tracks released in 2017 but should not go unnoticed. Originally released in Soundcloud, the track is part of their homonymous 2017 EP (available in cassette), the fifth track out of five.
As much as for Brite Nights, the track is a disco without ambition, yet sonically amazing. It follows the pop indie-electro tradition, but with a more underground music touch, that allows itself to explore and go away from the commercial barriers imposed by the industry. Expect nice synths.
You can also stream it by Spotify and Bandcamp.
“I’ve been waiting to catch a feeling, but you’re not in it for my heart, you’re here for the pussy”
From the creative hub of New York city we receive many great tracks, such as Almost a Year by Rare dm. A place full of great independent artists that always deserve to be shared by Synths of Eden.
Rare dm is what she calls: “a dark designer of electronic sound… exploring shadowed dissonance, foiled by the neon and black light glow of dance beats”. She produces music that have great electronic instrumentals and are yet danceable and pop. Melodic and delicate sounds are mixed with poetic lyrics about interpersonal relationships, as quoted above. It is impossible not to identify yourself with it, either you are a man or a woman. Everybody experienced the feeling of being sentimentally involved with somebody who doesn’t want anything else rather than physical and sexual attachments, having to carry with yourself this personal drama after “almost a year”.
Almost a Year is her first single. So, let’s hope she will have a busy year making new music, so we’ll be delighted listening to her again and again.
Well, after all who needs a big label to make great music? Not saying that money doesn’t help a lot of course. But, a self recorded production can overcome many expensive productions out there. Fire is a single from Sgmaniak producer from Nashville, USA. It is a mixture of retro synths, with interesting rhythms, programmed by a 808 drum machine. Fire is a single from his debut album No Sleep, the single has been released with other track A Frozen Place. Fire has interesting synthesizer arps and a ‘heart-wrenching ending’, as it was called by the producer himself. The song reaches its peak after the chorus and drops to an almost orchestral middle-end to conclude completely uniquely. A track like Sommarvisa reminds Jeff Buckley and his singular voice.
You can already stream the whole album No Sleep in Spotify, it is highly recommendable if you like electronic-indie with a Jeff Buckley vibe:
After Midnight from Superheart is a chill and romantic song, that pretty much remind me the 80s. A well produced track, starting with a piano, it is later on also followed by a guitar. The instruments are complete with a mellow female singer. It is a simple song, without much complexity, but that provides a warmth feeling. Other track from Superheart, such as Count On Me, have warm synthesizers, that pretty much remind British pop music from the 80s, such as ‘Time After Time’ from Cyndi Lauper, but with a modern touch.
A track with a pop-rock vocal that sings criticism about the mass media for a track that is not that much pop. Plus a very danceable bassline. It all starts with synths and a four on the floor bass and clap, that seems pretty much like a house track, followed by a synth chord progression. The intro is quite long but everything changes when the bass starts with the vocals. The lyrics are very interesting, they are about mass media manipulation, very critical to information and post-truth democracy. The message behind music should not be taken for granted. It reminds the vibes of Depeche Mode, like “Everything Counts”.
The single has a very interesting art, that reminds pretty much a photo collage.
Kerb Staller is a trio spread between London (Matt), Manchester (DNCN) and New York (jozif). They have been releasing as a trio since 2014. According to them:
“Tell Lies is our first release on Skint, as a group, and marks the start of a big year for Kerb Staller. The record, in its essence, describes how much we are manipulated by the media, and how this misinformation is used as a weapon. We’re not expecting Tell Lies to bring the system crashing down any time soon, but it felt better to say something, than say nothing at all.”
Another submission that came to us from USA, New York. There are two very big cultural poles that always come by Los Angeles and New York. The garage pop duo Me Not You released Chemical Cure as the last single of their upcoming EP, Reckoning 2 (out this Friday), with very nice lyrics and female vocals. The song Chemical Cure is their last single of the EP. According to them, they saved the best for last.
About Chemical Cure they say:
“we wrote ‘chemical cure’ on a particular bad day for our country and our world recently. it seems that there are quite a few of these lately. the song is about waking up every day and having to face what’s going on out there in there world. it’s about wanting to, and also not wanting to, lean on chemicals to deal with the ups and downs of life. chemicals from the outside and those pesky neurotransmitters our brain makes. the rise of the morning, the hope, and then the apathy that can set in by nighttime… but also sometimes finding inspiration and promise in the gaps of what’s left, what’s in between.”
The duo has been releasing since 2017 and have toured around US and Canada opening for Gary Numan to promote Reckoning 1 (2017). About their new EP they say:
“When we got back into the studio to write after we put out Reckoning 1, we aimed to dig deeper than we previously had, sonically and lyrically. We spent a month experimenting with new synths, found sound recordings, and tons of guitar pedals. Lyrically, we tapped into relationships and emotions that we had never really explored in our music. Playing the songs live on our fall tour allowed us a more intimate relationship and comfort with the songs, and we definitely brought that energy back with us to the studio. It was also important for us to keep the songs completely between the two of us… even as far as mixing the EP ourselves. The music is so personal that we felt it best to keep things tight this time around.”